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foxy digitals review: Walter and company spit pure venom and blood from the white grooves of this brief free jazz offering from Epicene. While the 10” record usually would be unfathomably restrictive for most artists working the free circuits, here roughly ten-minute sides ensure maximum punch. Instead of the winding, confrontational passages often associated with the genre, this ensemble focuses their attention on complete cohesion from the outset. Actually, “focus” should be the keyword of this review. In fact, the three pieces that make up this mini album appear to be actual compositions and not just edited bits from mind-melting skronk sessions.

Most of you reading this know percussionist-composer-bandleader Weasel Walter, founder of legendary Chicago/Bay Area free unit, the Flying Luttenbachers. Or perhaps stints in XBXRX or Lake of Dracula brought him to you attention. Regardless, he’s a living luminary at-large on this trio date. Certainly it might be safe to assume that if you are still paying attention you know six-string slinger Mick Barr (Orthrelm, Octis), recent associate of the Luttenbacher troupe. Saxophonist Sam Hillmer (Zs) rounds out this ensemble on a pair of recordings from October 2004 (Brooklyn) and May 2005 (San Francisco).

Side A opens up with a 2004 studio recording of Walter’s own “Trajectories,” a stabbing slice of saxophone-guitar brutality that often recalls John Zorn’s Naked City project. A minimal theme eventually gives way to a bludgeoning attack of sludge-metal fusion, as Barr riffs and Hillmer squalls. The way in which Hillmer’s sax and Barr’s guitar blend into a singular force propels the music straight into your gut. Not only have they synchronized their lines but also their searing tones blend into a furious mammoth wail. Barr’s individual tone recalls 1980s Zappa, saturated mid-range rippling through the speakers, yet maintaining enough sonic clarity into order to actually distinguish notes. Closing out the side, “The Art of Collecting Royalties” from a 2005 San Francisco date, offers three minutes of subdued, searching group improv in a comparatively traditional jazz manner ending in a pulsating drum solo. On both of these tracks, the recording fidelity of Walter’s drumming stands out—crisply thudding in the center section.

From the same recording as “Trajectories,” the side-length Hillmer composition on the b-side, “The Art of Rolling,” trades jazz aesthetic for cubist electronics and a distinctly Euro improv palette. Interestingly enough, despite being from the same session, the band from the first cut remains unrecognizable throughout the nine-plus minutes of the piece. Walter even trades his kit for what could be any number of digital devices—laptop, drum pads, sampler, who knows. Rhythm dominates this track (drummer bandleader, go figure), but in a clattery, industrial manner as a variety of patterns compete for the leadership position. Hillmer and Barr lay down an atonal cloud upon which Walter’s mechanized beats hammer. Following a pregnant silence approximately four or five minutes in, a remixed distillation of previous events further darkens the stripped factory, sending the rats scurrying and sawdust flying into the cigarette air.

All in all, those interested in modern free jazz (or on the other hand increasingly alienated by less traditional forms of contemporary improv) probably should consider adding this to their collection. In a world of disposable media, the actual investment in vinyl for a non-full-length release refreshes this critic. As trivial as it might be, the willingness to invest hundreds of dollars voices true support and acts as a mark of quality. Not to mention breaking that access barrier to brick-and-mortar record shops. Too bad this record came out back in 2006 or it would have been a shoe-in for my year-end list. Edition of 300. Super-heavy white vinyl. Thank you Epicene. Thank you WW, MB & SH. Now, do it again. 9/10 -- Brandon Miller (5 September, 2007)